The three piece suits and the interest in modern history

Jack Robinson in Miss Fisher's
Murder Mysteries

“The past is a foreign country; they do things differently there.”

~ L.P. Hartley

When I tell people I am an archaeologist, I usually get an entusiastic answer that they have an interest in history too. This is always wonderful to hear and I start to elaborate about my interest in the Vikings and the Vasa era. Then, however, almost everyone start to retract their answer a bit, saying they meant that they are only really interested in the latest 200 or so years.

This has for a long time made me extremely confused since I do not see any differences between modern history and earlier ones. In fact, I have longed find the 20th century quite boring. It was not until I got into imperialism and Miss Fisher's Murder Mysteries that I found something that actually interested me in the 19th and 20th century.

Because there are so much talk about fashion in the fandom of the latter, I thought they would enjoy seeing the Sture costumes (photo below), which are the only more or less completely preserved male renaissance costumes in the world today. However, the ones I have shown, have almost always said that they are not the least bit interested, because the perfect male clothing is the three piece suits. They claim that it's the only male clothing that enhance the male body.

There is nothing wrong with liking a modern male suit of course, but I cannot help but thinking there is a clue to people's preferences towards modern history in there.

The Sture costumes

Professionally, I work a lot with postcolonial theory in relation to Vikings as well as colonial narratives of history. There are a lot of things one can say about those theories and I can well understand the criticism that has been raised towards them, but at the same time, I also think they are thoughtprovoking in what they have to say.

Postcolonialism is really an umbrella term for theoretical standpoints based on colonial issues and the most important of the postcolonial theories for this blogpost is the thoughts about the creation of "The Other" that Edward Said deals with in his famous book Orientalism from 1978.

Said's thoughts deals with how the Western world tends to create stereotypes about the area in Asia and Northern Africa which usually goes by the name the Orient and that these stereotypes are created from a Western world view. This means that one has been very biased and onesided in portrayals of the societies and cultures of the Oriend, not least to legitimize imperialism. This has also created a hierarchy of cultures where the Western world has always been on the highest level and seen as the measurement for all other societies.

There is a clear tendency to view the Enlightenment as a breaking-point in history. A time where the modern society was created for real and then it became truely modern with the industrialism. Modernism is also very much based in the here and now and tend to have a small interest in the past. Can this be why we have a harder time to related to earlier history? From a Swedish perspective, there are Vikings of course, but the "real" history is often said to start with the king Gustav Vasa in what is known as the Early modern period (or the Premodern Period). The name of the period itself is quite interesting in this case too since it seems to depart in modernism and is often more or less seen as a long runway towards the Enlightenment.

This sort of shallow view of time is evident in Swedish ethnologists's interest too. Inger Lövkrona does not even go as far as Gustav Vasa in the 16th century and instead claim that the the premodern timeperiod starts with the Swedish Empire Era (Stormaktstid) in the 17th century. She also describes the premodern time as being qualitatively and structuraly different than the modern one in her article Hierarki och makt - den förmoderna familjen som genusrelation (1999:20).

I love ethnology and anthropology's perspective of societies and cultures, but for an archaeologist, the shallow time frame appears very strange and evolutionistic. Lövkrona's description of premodern cultures however is interesting in that it claims that our own society appears (suddenly from what it seems) from the industrialisation. That means it is not until then we can relate to people in the past.

I started this blog post with a quote from L.P. Hartley about historical individuals being different in the same way that foreign cultures are for us today. This has been paraphrased by Douglas Adams who said that people in the past is living in a foreign country since they act like us. I think they are both right and I think it is really important for us to realize that people in the past are both like us and not like us at the same time. Just as people of different cultures are for us today and I think one can learn a lot about this similarities and differences among living people of today, but studying them in the past. In the global world we live in, we need to be able to feel empathy and connections to people differnt from ourselves as well as for those similar to us. And it is not so easy to dismiss the more distant past. Quick breakups in history are seldom as quick when studied more closely and it all has to do with ones perspective. Modernity (and the Enlightenment) wanted to see itself as the beginning of something new and totally different and the older past was therefore viewed as less valued and an "Other" was created about it. A perspective we still seem to have today.

Children's scribbles?

I recently found what looks like children's scribbles in Kristina Gyllenstierna's Book of Hours from the 16th century (collage to the left) and I could not feel more delighted. They lived 500 years ago in a completely different world than myself, but I feel such a strange connection to them and the fact that some behaviours are really timeless.

But what about the three piece suits then? Is that not a matter of different taste? Well, taste is also quite a lot connected to culture even though we do not think about it so much. The three piece suit is not only a piece of clothing either. It is, and has been since the industrialisation, a symbol of power and status.

And the Sture costumes can also show a lot of their owners's figures. Svante Sture's for example indicate that he was a short and stout little man. His story is a bit tragic because he lost most of his family due to the wars between Denmark and Sweden and spent his early childhood in Danish prison where a lot of his family and friends died. This has me wondering if he was not malnourished which often results in children ending up shorter than they should otherwise. He might also have had an eating disorder because malnourishment in children often ends up with them getting a disrupted sense of food. Despite all this, I cannot help wondering if there ever has been a piece of fashion enhancing "masculinity" as well as the codpiece...

• Lövkrona, Inger 1999. Hierarki och makt - den förmoderna familjen som genusrelation, i: Familj och kön. Etnologiska perspektiv. red: B. Meurling, B. Lundgren & I. Lövenkrona, Lund, s19-39

Marie-Louise Flemberg - Kristina Gyllenstierna. Kvinnan som stod upp mot Kristian Tyrann

I have talked about Kristina Nilsdotter (Gyllenstierna) before. She was the first of the women who was given an entry in my Historical Women series and is one of my absolute favourites among Vasa women.

Kristina is known throughout history as Kristina Gyllenstierna (Just as her nephew is known as Gustav Vasa.) but to call her this is a bit anacronistic. The tradition at the time was to use patronyms, which means that it was much more important to state that she was Nils's daughter (Nilsdotter) than that she was born into the noble family Gyllenstierna.

Kristina married Sten Svantesson (Natt och dag), son of the regent of Sweden Svante Nilsson (Natt och dag) in 1512. Her father-in-law died only a few month after the wedding (He is said to be one of the first known cases of syphilis in Scandinavia.) and a power struggle breaks out between Sten and another noble man named Erik Trolle. As a regent, Sten took the name Sture to appeal to the popularity of former regent Sten Sture (called the older in Swedish history books today). Neither of these were kings in the formal sense because Sweden was still part of the Kalmar union with the other Nordic countries which was ruled by the Danes. In Kristina's time it was first Hans and then his son Kristian II who held the throne.

Painting from the 19th century by Carl Gustaf Hellqvist
of Sten Sture the younger's death.

Today (19 January) marks the 598th anniversary of the battle on the ice of the lake Åsunden outside of the town then known as Bogesund, that today goes by the name Ulricehamn in the province Västergötland. Sten was badly injured and died on the way back to Stockholm on 3 February 1520.


After this the supporters of Sten were split up and no one wanted to take up the leadership of the resistance beside Kristina who lead the defence from the castle Tre kronor in Stockholm. Last year, Marie-Louise Flemberg published a biography about her:  Kristina Gyllenstierna. Kvinnan som stod upp mot Kristian Tyrann.

Overall, I enjoyed the book. Even though I had her life story was known to me, there were some informations that I did not know. Among other things that Kristina was pregnant when Sten died and that she gave birth during the siege of Stockholm. A child that other historians say was less than a year when his father died and that the boy died during the siege. Wikipedia says that the boy was named Gustav like Kristina's youngest son from her second marriage.

The child is supposed to have been dug up together with Sten's dead body and burned at the stakes with the other victims of the Stockholm bloodbath. One source claim that the child was a week old, which would indicate that Flemberg is right about the pregnancy. I would not really be surprised if it was one of those "details" that have gone over male historians's heads (or at least been written of as meaningless).

Statue of Kristina from the Royal Palace in
Stockholm made av Johan Theodor Lundberg
in 1912.

One problem with the book is that Flemberg from time to time mixes up the relations between characters. For example, Gustav Vasa's mother Cecilia Månsdotter (Eka) is the daughter of Sigrid Eskilsdotter (Banér) and not her sister, which makes Kristina Gustav's aunt and Sigrid his grandmother. 

Gustav's attack on Kalmar castle and Berend von Melen is likewise called Kalmar bloodbath which I do not think is correct. I know of two events in the history of the town that is called so (one with the union king Hans executing the burgess of the town in 1505 and one with Swedish king Karl IX who executed those faithful to his nephew Sigismund in 1599.

As a biography over Kristina it also seems a bit strange because she is absent for most of the book that is more focused on the stories of her husband and older son Nils. Flemming is convinced that the latter really was the teenaged boy Gustav Vasa nicknamed Dalajunkern who rebelled against him. Perhaps this is because of lack of sources and because of the chaos that is the 1520's in Swedish history. However, because the book is said to be a biography about Kristina, I would have liked to to hear more about her second marriage to Johan Turesson (Tre rosor). Even though she did not meddle in the politics to the same extent after she married Johan, I do not really think her life would be uninteresting. The time period indicates otherwise...

Historical Women: Margareta Eriksdotter Leijonhufvud

"Vi eder till känne att vi aktar i den helige trefaldighets namn giva oss i rätt äktenskap med ärlig, välbördig jungfru Margareta Eriksdotter, på söndagen efter Mikaelis näst kommande uti vår stad Uppsala." ("We want to inform you that we will, in the name of the holy trinity, give ourself into marriage with the honest, well-born virgin Margareta Eriksdotter on Sunday after Mikaelis next in our town Uppsala.")

- Invitation from Gustav Vasa about his wedding to Margareta.

(Quoted in Tegenborg Falkdalen 2016)

I am starting this year similar to how I ended the former, with an entry about one of the Vasa women. The one in the portrait to the right is Margareta Eriksdotter Leijonhufvud and she is the older sister of Märta and the mother of Cecilia.

Like with the entry about Märta, this is an entry made in the celebration of Margareta's birthday which is said to be 1 January 1516. She is the daughter of nobleman Erik Abrahamsson (Leijonhufvud) and his wife Ebba Eriksdotter (Vasa) who was second cousin of Margareta's husband Gustav Vasa. She also had six siblings. Märta is the youngest out of them, born about 1½ month after their father was executed in the Stockholm bloodbath in 1520. The others were the sisters: Birgitta (Brita) born in 1514; Anna born in 1515 (She fell down the stairs at Örebro castle and died when she was just about a year or so old.) and a second Anna born in 1517. Margareta also had two brothers: Abraham born either in 1512 or 1513 and Sten born in 1518.

Very little about her childhood is known, but on contrary to many of the other wives and children of the men executed in the bloodbath Ebba and her children was not imprisoned by Kristian II. Erik had put them in the convent in Västerås and after the bloodbath, they could return to their family estates like before. She was most likely raised like any of the other noblewomen at the time.

Gustav Vasa

Her husband, Gustav Eriksson (Vasa) first married the daughter of duke Magnus I of Saxe-Lauenburg, Katarina in 1531 and she gave birth to Erik (XIV) in 1533. It is possible that the 15 year old Margareta was part of her court, but nothing is certain. Katarina died already in 1535 after having fallen while dancing at one of the balls at the castle. Rumours had it that Gustav had hit her with a hammer, but there are no evidences for the modern opening of the Vasa grave in Uppsala cathedral and her brother-in-law, the Danish king Kristian III writes that he saw her fall. the rumours however were hard to lay to rest and Gustav became a persona non grata in the other European courts and he decided to strengthen his relation to the Swedish higher nobility and chose Margareta as his wife.

There is a story about Margareta first being betrothed to Svante Sture and that Gustav had come into her chambers finding him on his knees in front of her. Margareta is said to have then told her new husband that Svante was there because he wanted to marry Märta.

To be honest I have some serious doubts about this particular story. Mostly because it does not really fit into Svante's background. It happened that parents decided on the marriage of their children early, but Svante was only three and Margareta was four at the time he was imprisoned together with his mother Kristina Gyllenstierna and siblings in 1520. The family was also removed to Denmark the next year and while his mother and older brother Nils came back to Sweden in 1524, Svante remained in Denmark to be schooled by the bishop of Århus, Ove Bille at least until 1532. After that, he also spent a couple of years at the court of Gustav's father-in-law duke Magnus I before he was (according to himself) lured to Lübeck where he was offered the Swedish crown. When he refused the offer, he was held prisoner before returning to Sweden in 1536. This would be the same year Margareta and Gustav married and even if there had been an agreement about an engagement between Svante and Margareta before 1520, I doubt they would have been big enough to have developed any real feelings towards one another that is supposed to have prompted Svante to go to Margareta and proclaim his love for her. I also wonder how much the story was made up just to strengthen the antagonization between the Vasa and the Sture family.

Margareta was 20 years old and Gustav 40 at the time of the wedding at Uppsala cathedral on 1 October 1536. The age difference might seem strange to us, but was not really unusual at the time. The couple actually seems to have been very happy together and even though Margareta could not be involved in the meetings of Riksrådet, she seems to often have followed him on his travels through the country either with or without children. Their marriage also connected her siblings and brother-in-laws (including Svante Sture) to the king's inner circle.

There are 16 letters left of the correspondence between Margareta and Märta from the years 1544 to 1551. According to Karin Tegenborg Falkdalen (2016) this is to be considered a substantial amount of letters from the earlier half of the 16th century. The letters give an insight into the women's every day lives. The sisters Leijonhufvud discussed economics and domestic affairs mixed with discussions of illnesses and remedies. They also seem to have missed each other when they were apart, so they must have been close. Based on the contents Svante also seems to have used his wife's correspondence with her sister to give messages to the king. That people went through Margareta to give messages to her husband was actually pretty common and is a practice you can see in regards to Kristina Gyllenstierna and Sten Sture the younger too.

Cecilia Vasa

Margareta gave birth to ten children: Johan (III) in 1537, Katarina in 1539, Cecilia in 1540, Magnus in 1542, Anna in 1545, Sofia in 1547, Elisabet in 1549 and Karl (IX) in 1550. She and Gustav also had two sons Karl (born in 1544) and Sten (born in 1546) who died before they turned one. All the children were very well cared for and Gustav seems to have been a very caring father with lots of opinions about how the two (later three) nannies would raise them. Kristina Gyllenstierna (who was Gustav's aunt), Margareta's mother Ebba and her sisters Märta and Brita seem to have been there when the royal couple needed an extra hand too. The letters to Märta also tell us that Margareta sent her nannies to her younger sister whenever she needed an extra caretaker.

The royals traveled throughout Sweden and Finland a lot and the parliament met at different cities. From the 1540's however, the royal family mostly spent time in the castle in Stockholm and at Gripsholm's castle. Both of which were renovated and modernized. The family also visited the castles and estates in Kungsör, Västerås, Tynnelsö, Uppsala and Svartsjö. As their economy stablised, their lifestyle got more and more exclusive as seen in the bookkeepings.

Margareta on the sarcophagus
in the Vasa choir in cathedral
in Uppsala.

In the late 1540's Margareta seems to have been sick a lot and according to their letters so was Märta. The sisters discussed their illnesses and remedies in the correspondence. It is unclear what illnesses they suffered from, but Karin Tegenborg Falkdalen (2016) thinks it is their many pregnancies that preyed on them and I think it is totally reasonable to think so as well. Both women got better, but in August 1551 she became ill again and Gustav wrote to Kristina Gyllenstierna and Märta and Svante to hurry to Tynnelsö where the family was. This time, her life could not be saved and she died on 26 August 1551 between 2 and 3 PM. Gustav's nephew, Per Brahe wrote that "the sun lost its shine" at that time. She was first burried at Storkyrkan in Stockholm were her predecessor Katarina had also been laid to rest. In 1560, when Gustav died, they were both removed to the cathedral in Uppsala were all three of them were put to a final rest in the Vasa choir.

Burial crowns of Margareta and Katarina of Saxe-Lauenburg
at the Cathedral Museum in Uppsala

References

• Larsson, Lars-Olof 2002. Gustav Vasa - landsfader eller tyrann?, Falun
• Tegenborg Falkdalen, Karin 2010. Vasadöttrarna, Falun
• Tegenborg Falkdalen, Karin 2016. Margareta Regina - vid kung Gustav Vasas sida. En biografi över Margareta Leijonhufvud (1516-1551), Lithuania

The portrait of Margareta was borrowed from her Wikipedia page and the ones of Gustav and Cecilia were borrowed from here and here.

Historical Women: Märta Eriksdotter Leijonhufvud

I have not been able to find any
portray of Märta and I'm not sure
there are any known ones of her.
This is her family crest however.

“Beside every good man is a good woman, and she must always be ready to step in front"

~ Phryne Fisher, 

Miss Fisher's Murder Mysteries: 

Deadweight

Today is the 497th birthday of one of my absolute favourite historical women: Märta Eriksdotter Leijonhuvud. She was born 24 December 1520 at the family estate Ekeby in Lillkyrka parish in the Swedish province Närke.

She's the daughter-in-law of Kristina Nilsdotter Gyllenstierna and the aunt of Cecilia Vasa who have featured before in my Historical Women series and the youngest child of Erik Abrahamsson Leijonhufvud and his wife Ebba Eriksdotter Vasa. Märta never got to meet her father though. He was executed in Stockholm's bloodbath about 1½ month before she was born. She also had five (Or six if you count the first sister called Anna who died at the age of one or two falling down the stairs at Örebro castle.) older siblings: Abraham (1512/1513-1556), Birgitta (Brita) (1514-1572), Margareta (1516-1551), Anna (1517-1540) and Sten (1518-1568). To protect his family, Erik sent them to the convent in Västerås, which probably saved them from going to prison in Denmark. After the bloodbath, Ebba returned to the family estate where she probably also gave birth to Märta.

Svante Sture

At the age of 18, Märta married Kristina Gyllenstierna's son Svante Sture who was three years older than herself and from what you can get out of the available sources, it seems like they were quite happy.

I do not agree with the Swedish historians claiming Svante to be a boring character. On the contrary, I find him appealing and interesting. He did not have such an easy childhood. He lost his father, the Swedish regent Sten Sture the younger and was imprisoned by king Krisian II at the age of three. Even though it is said that Kristian's wife, queen Elisabeth, had him and his brother fostered out to a noble family in Kalundborg, Denmark where the Swedish noble women and children who had been captured at the bloodbath were imprisoned.

In 1534 he went to the Hanseatic town Lübeck (according to himself, he was tricked to come there) where he was offered the Swedish crown. The town had helped Gustav Vasa break free from the Kalmar union a few years earlier and Gustav refused to pay them. They had also got involved in the Danish civil war called The Count's Feud (1534-1536). Svante however refused the offer and was therefore held prisoner for some time afterwards. It was not the last time, people tried to use him in their rebelling against Gustav. During the so called Dacke War, he and Märta were offered to become king and queen of Sweden by the rebels from the province Småland, but they refused.

Historians (mainly male ones!) often says this is a survival strategy Svante stuck to. The Stures and Kristina Gyllenstierna were popular among the Swedish people who had not yet forgot their time ruling Sweden. Svante's older brother Nils was most likely also the young rebel who Gustav Vasa labelled as "Dalajunkern" who was executed in Rostock in 1527. I, however, see him in a slightly different light. Of course his background matter. However, I also think he had more or less the opposite personality as his older brother. While the difficult circumstances of their childhood made Nils Sture into a unruly teenager, I think it made Svante turn inwards into himself. I see him as a man who was not really interested in power. I think he had the societal position he had mostly because of his DNA and I also think he would be labelled as a geek if he had lived today. Historians, who are interested in power structures, often describes him as "boring" and Märta is said to be the more feisty character out of the two and I do not think it is really fair. Based on their letter exchange, Märta was also very close to her sister, queen Margareta, which probably did not make her too keen to take over the throne.

There is a story that Svante was first betrothed to Märta's older sister Margareta and that he rushed to see her when he learned that she had married Gustav Vasa and that Gustav had found him on his knees in front of her and Margareta had told her husband that Svante had come to ask for Märta's hand in marriage. I have not really decided what I think about this. It certainly is an interesting story, but it might just be that too: a story. Before he married, Svante spent a lot of time outside of Sweden and he did not return until 1536 when Margareta and Gustav married. However, they did not marry until 1 October and depending on when Svante got back to Sweden it might be true. What is true is that he married Märta and it seems like it was both a beneficial and a happy match.

The Sture burial choir in the
Uppsala cathedral

Svante was made one of the first counts in Sweden in 1561 so technically Märta became a countess. She did not however use the title until she after had been made widow.

ÅÅren effter Christi födilsse mdxxxviij emillen mondagen och tisdagen tå xi slog , wartt jomfrv Sigriidtt, Swantis och frv Märtis dotter, födh, i i j:e daga för nysdag, Gudi tiill loff, heder och ære. Amen.
(The years after Christ's birth 1538 between Monday and Tuesday when the clock hit 11, maid Sigrid, Svante's and Märta's daughter [unclear]. To God's honour.)

~ Märta's mother-in-law, Kristina's note when Märta's 

and Svante's first child was born in 1538.

(Quoted in Flemberg 2017.)

Märta and Svante got fifteen children in twenty-two years. Ten of them lived into adulthood. Among other's they had three sons named Nils, Sten and Erik. Sten died in the Action of 7 July 1565. Nils, Erik and also Svante were killed by king Erik XIV on 24 May 1567 in the event that is known in history as the Sture Murders.

For Märta, the murders was a great tragedy. The letters she writes during her sons's and husband's get more and more angst-filled and desperate as time progressed and she gets less and less answer. Four letters have survived, but there might have been many more.

The Sture costumes

16th century letters from the royal and noble families are filled with rhetoric and titles but in those letter, Märta puts more and more of that aside and bares her true feelings and pours her angst and desperation into the letters the more precarious her situation gets. What is so tragic about the last one of them is that, her husband and sons were most likely already dead inside Uppsala castle without her knowing it.

Days later the queen dowager and Märta's niece (Margareta died already in 1551 and Gustav Vasa then married her and Märta's niece.) Katarina Stenbock is said to have broken the news to her. Katarina then rushed to Stockholm to meet Erik XIV who had run away from the castle in Uppsala in the middle of the event. He was found a couple of days later in Odensala. He sends her to Märta and the other relations of the other victims (Abraham Stenbock and Ivar Liljeörn) her as compensation for the lives of her husband and sons.

The arranged the funerals of the victims. Svante, Nils and Erik were laid to rest in the Sture family grave inside Uppsala cathedral. Märta was also given silver bricks which she called: "Ett olyckligt förbannat silver, som mig ett så dyrt värde kostat" ("An unfortunate cursed silver, that has cost me so dearly").

Märta had always held a prominent position in the Swedish nobility and because her husband was often away, she was the one to handle the family estates and fiefs. For this she gained the nickname Kung Märta (King Märta). In a way, this was the beginning of a new life for Märta. As widow she gained authority and she used it very well. When Erik gained back his health after his mental collapse in connection to the Sture murders, he wanted the silver back, but Märta refused. Instead she used "the blood bricks" which she called them to support Erik's brothers rebellion. When Johan got the throne, he repaid her by giving her back her husband's county which was also expanded. Together with her sister Brita and sister-in-law Ebba Lilliehöök she was one of the greatest fief-holders in Sweden at the time. However, she did no longer have direct access to the Council of the Realm, but to get her opinion known she used her two remaining sons Mauritz and Karl (15 and 12 at the time of the murders) and her son-in-laws.

Märta's chest

To make sure people did not forgot what had happend, Märta put her husband and sons's clothes that they had worn during their murders in a chest and placed it on their grave. This clothes have survived and are, together with the chest, on display in the Uppsala cathedral museum. They are known as The Sture Costumes today.

The lock of Märta's chest, I find it totally mesmerizing

Märta herself died in 1584 and was buried alongside her husband and children in the Sture grave in Uppsala cathedral.




References

• Ericson, Lars 2004. Johan III. En biografi, Riga
• Eriksson, Bo 2017. Sturarna. Makten, morden, missdåden, Latvia
• Flemberg, Marie-Louise 2017. Kristina Gyllenstierna. Kvinnan som stod upp mot Kristian Tyrann, Falun
• von Konow, Jan 2003. Sturemorden 1567. Ett drama i kampen mellan kungamakt och högadel, Karlskrona
• Larsson, Lars-Olof 2002. Gustav Vasa - landsfader eller tyrann?, Falun
• Larsson, Lars-Olof 2005. Arvet efter Gustav Vasa. En berättelse om fyra kungar och ett rike, Falun
• Petersson, Erik 2008. Den skoningslöse. En biografi över Karl IX, Falun
• Tegenborg Falkdalen, Karin 2010. Vasadöttrarna, falun
• Tegenborg Falkdalen, Karin 2015. Vasadrottningen. En biografi över Katarina Stenbock 1535-1621, Lithuania
• Tegenborg Falkdalen, Karin 2016. Margareta Regina - vid kung Gustav Vasas sida. En biografi över Margareta Leijonhufvud (1516-1551), Lithuania
• https://sok.riksarkivet.se/sbl/Presentation.aspx?id=34643
• https://sok.riksarkivet.se/Sbl/Presentation.aspx?id=11172

The portrait of Svante Sture was borrowed from his Wikipedia page and the one of the Leijonhufvud family crest was borrowed from Märta's own.

The Sture costumes

The Sture costumes

I showed you this photo already in my entry about the Sture murders, but they are just so awsome that they deserve to be talked about on their own.

What is the Sture costumes? They are the clothes that were worn by Svante Sture and his two sons Nils and Erik on 24 May 1567. They are said to be the only completely preserved male costumes from the renaissance. I am not sure if this is true, but it is certainly rare to have clothes in general left from that time and even more rare to have them come complete with stabbing wounds and blood stains.

The chest Märta put the clothes in
Photo: Lennart Engström, Upplandsmuseet

After the murder Svante's widow and Nils and Erik's mother Märta Leijonhufvud took care of their clothes and put them in a chest that was placed on top of their grave in the Sture choir in Uppsala cathedral. The chest and some of the clothes can be seen at the exhibition in the Uppsala cathedral's museum in Uppsala. It once contained, among other things the clothes of Svante, Nils and Erik that is now in the museum and a hat that belonged to Svante's and Märta's son Sten who died in a sea battle two years prior to the murders. Two years after the murder, Märta also put down the release protocol for Svante, Nils and Erik.

Svante Sture

The clothes are influenced by Spanish as well as German contemporary fashion.

Svante's costume (the one to the left in the photo above) is of a little older model than the ones belonging to his sons. Based on the form of the clothes, he also seems to have been shorter and a bit more robust than both of his sons who, based on their clothes must have been quite tall and slender.

Svante's jacket is made of black velvet with greyish green decorations and the pluderhosen is of taffeta. Mainly on the right side of the jacket, you can see blood stains.

Nils Sture

Nils Sture's costume (in the middle in the photo above) is a  typical travelling outfit for noble men of the time. The jacket is made in chamois leather and traces show it was originally painted black. In a list of inventory from the Uppsala cathedral from 1780 it is noted that the jacket had 19 silver buttons. Of those, only one is still there today. The stab wounds are evident.

The pluderhosen he wore is of black woollen. The fact that Nils wears a travel costume is not really strange. He was emprisoned as soon as he returned from a trip to Alsace-Lorraine where he proposed to a princess on the Erik XIV's behalf. It is said that the king wanted him to fail so he would get a reason to affront him. In the portrait to the right, Nils wears an earring in his left ear. This might be something he picked up on his trip to England where he also was ordered by Erik XIV to propose to queen Elizabeth I.

Erik Sture

Erik Sture's costume (to the right in the photo above) seems to be the one he is wearing in the portrait to the left. The jacket is made of black velvet with thin yellow braids as ornament. The pluderhosen is in taffeta like his father's and they might have once been purple in colour and not brown like today. Purple was a colour only the royals and higher nobility were allowed to wear at the time. (Disney seems to taken this to their heart in Frozen. They let Elsa throw away her purple cloak in the Let it go sequence after all.)

I do love the Sture costumes. They are prof of what I discussed a little in my entry about the exhibition Göteborgs födelse at Göteborg City Museum. Materialities tend to overbridge time gap and make history and historical people get closer. They also evoke thoughts and feelings inside of us. Märta also seems to have understood how they could be used in general memory. She saved the clothes just to have people remember her husband and sons. Unfortunately, most Swedes have today.

The Sture costume is particularly thought provoking since they actually show you real physical evidence on what seem to be quite gruesome murders. Reconstructions have been made comparing the clothes's stab wounds to the account of the murders from the written sources and they seem to match up quite well. What got me to react the most in this case is that the blood stains have actually rusted. I knew very well that there is iron in blood, but I have never thought that blood stains could rust before.

References:
Rangström, Lena (ed) 2002. Modelejon. Manligt mode, 1500-tal, 1600-tal, 1700-tal

Dead People's Society - "Helge"

The stern of Vasa

Sunday 10th August 1628 did the brand new Swedish warship Vasa set sail for its first journey. Swedish king Gustav II Adolf (nephew of Cecilia Vasa) had had it built. It did not end well. The ship sank barely having left the harbour in Stockholm, but was salvaged in 1961 and can today be seen at the Vasa Museum in Stockholm. (I really recommend that museum if you go to Stockholm. It is one of my absolute favourites. Not just in said town.)

On board and around Vasa were the remains of at least 16 individuals found and I thought I should talk about one of those. Since we do not know any names of the individuals found on Vasa, they have got name based on the Swedish spelling alphabet (with the exception of the two women Beata and Ylva). This particular man has been called Helge, so that is what I will call him in this entry.

Helge's skeleton is very fragmentary, around 2 770 fragments were found together on the port side of lower gun deck. This is quite a lot considering a "normal" body of an adult human being contains 206 bones. A lot of the fragments (c. 2 100) are however too small to estimate which particular bone they have been a part of, but 671 of them could be pieced together.

Vasa

When Vasa keeled over, Helge had the unfortunate faith of being crushed underneath one of the gun carriages and when osteologist Nils-Gustaf Gejvall did the first study of the skeletons from Vasa in 1963, he said that the skeleton was in very bad condition. It was affected by the iron parts of the gun carriage. The skeletons found at Vasa were reburied in 1963, but taken up again in 1989 for a more thorough analysis and can today be seen at the Vasa museum. The years in the ground has further increased the decay and Helge's bones have mildewed.

Together with the skeletons given the names Filip and Gustav, Helge has the most complete skeleton out of all the Vasa skeletons. He however, misses parts of his hands and feet and the skull was broken into pieces. His sex is estimated as "typical male" based on features from remaining skull fragments and his age 33+3 years based on age markers on the femur, humerus and skull seams. Chemical analysis show that he ate a lot of meat.

Besides the bones, the archaeologists also found preserved hair, nails and brain tissue.

Sources
During, Ebba 1994. De dog på Vasa. Skelettfynden och vad de berättar, Vasastudier 16